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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
key:Am
Non classifié
558
Piano & claviers
Piano seul
206
Piano, Voix
171
Piano Facile
129
Piano, Voix et Guitare
60
Instruments en Do
57
Piano grosses notes
20
Orgue
13
2 Pianos, 4 mains
7
1 Piano, 4 mains
4
Clavier
3
Accompagnement Piano
3
Piano (partie séparée)
1
Piano Trio: piano, violon, violoncelle
1
Clavecin
1
Accordéon, Voix
1
+ 10 instrumentations
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Guitares
Guitare notes et tablatures
27
Guitare
19
Ligne De Mélodie, (Paroles) et Accords
13
Basse electrique
10
2 Guitares (duo)
5
Ukulele
3
4 Guitares (Quatuor)
1
Piano, Guitare (duo)
1
+ 3 instrumentations
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Voix
Chorale SATB
104
Chorale TTBB
71
Voix Soprano, Piano
30
Voix Alto, Piano
30
Voix Tenor, Piano
29
Voix Baryton, Piano
27
Pack Instrumental pour Chorale
14
Chorale 3 parties
8
Chorale SSAA
7
Voix haute
7
Chorale Unison
6
Voix seule
4
Chorale 2 parties
3
Voix duo, Piano
2
Voix moyenne, Piano
1
+ 10 instrumentations
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Vents
Quatuor de Saxophones: 4 saxophones
22
Flûte, Hautbois, Clarinette, Basson
22
Flûte traversière et Piano
20
Clarinette et Piano
19
Saxophone (partie séparée)
18
Saxophone Alto et Piano
14
Hautbois, Piano (duo)
14
2 Saxophones (duo)
12
Saxophone Soprano et Piano
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
11
Flûte traversière
10
Saxophone Alto
10
Saxophone Tenor
10
Clarinette
9
Saxophone, Clarinette (duo)
7
Saxophone Baryton, Piano
7
Quintette de Saxophone: 5 saxophones
7
Hautbois (partie séparée)
7
Saxophone Tenor et Piano
6
2 Flûtes traversières (duo)
6
Clarinette, Violon (duo)
6
Quatuor de Clarinettes: 4 clarinettes
5
Clarinette, Trompette (duo)
4
2 Clarinettes (duo)
4
Clarinette et Alto
4
Flûte, Clarinette (duo)
4
Cor anglais, Piano
4
2 Hautbois (duo)
3
Hautbois, Clarinette (duo)
3
Saxophone Soprano
2
2 Flûte à bec (duo)
2
Flûte, Trompette (duo)
2
Flûte, Alto (duo)
2
3 Saxophones (trio)
2
Hautbois
2
Saxophone Baryton
2
Hautbois, Basson (duo)
2
Flûte, Saxophone (duo)
2
Ensemble de Flûtes
2
Flûte à bec Soprano
2
Flûte, Violon, Piano
1
Quintette de Flûte : 5 flûtes
1
Trio de Flûtes: 3 flûtes
1
Ensemble de saxophones
1
Flûte, Alto et Piano
1
Flûte et Guitare
1
Flûte, Basson et Piano
1
Flûte à bec Soprano, Piano
1
Flûte, trombone et piano
1
Quatuor de Flûtes : 4 flûtes
1
Flûte, Clarinette, Piano (trio)
1
2 Cors Anglais Et Pianoforte
1
Clarinette Basse, Piano
1
Flûte à bec Alto, Piano
1
Flûte, Hautbois, Basson
1
Flûte, Violon et Violoncelle
1
3 Clarinettes (trio)
1
Flûte, Hautbois, Clarinette (trio)
1
2 Clarinettes, Piano
1
2 Flûtes traversières, Piano
1
Quatuor de Flûtes à bec
1
Clarinette, Guitare (duo)
1
Clarinette, Alto et Piano (trio)
1
+ 58 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
17
Trombone et Piano
16
Trompette, Piano
16
Cor et Piano
11
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Trombone
9
Tuba et Piano
7
Quatuor de Cuivres
7
Ensemble de Trompettes
6
Trompette
6
Tuba
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Cor anglais, Piano
4
Euphonium, Piano (duo)
3
Trompette, Trombone (duo)
3
2 Trompettes (duo)
3
Trio de Cuivres
2
Cor
2
Trompette, Violoncelle et Piano
2
Trompette (partie séparée)
1
Euphonium
1
2 Trombones (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
2 Cors Anglais Et Pianoforte
1
Trompette, Saxophone (duo)
1
Quatuor de cuivres: 4 trombones
1
+ 21 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
39
Violon et Piano
24
Violoncelle, Piano
21
Alto, Piano
13
Violon
13
Violoncelle
12
Quintette à cordes: 2 violons, alto, violoncelle, basse
12
Harpe
8
Alto seul
8
Contrebasse, Piano (duo)
7
Alto (partie séparée)
5
Trio à Cordes: violon, alto, violoncelle
5
Violon, Alto (duo)
4
Harpe, Voix
4
2 Violoncelles (duo)
4
Violon, Violoncelle (duo)
3
2 Altos (duo)
3
2 Violons (duo)
2
Violon, Guitare (duo)
2
Contre Basse
2
Quatuor à cordes: 4 violons
2
Ensemble de Violons
1
4 Violoncelles
1
Trio à cordes: 3 violins
1
Harpe, Flûte (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
+ 21 instrumentations
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Orchestre & Percussions
Ensemble Jazz
17
Orchestre
16
Orchestre à Cordes
9
Orchestre d'harmonie
9
Ensemble de cuivres
6
Batterie
3
Jazz combo
3
Orchestre de chambre
3
Xylophone ou Marimba ou Vibraphone
2
Fanfare
2
Vibraphone
1
Cloches
1
Piano et Orchestre
1
Marimba
1
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--INSTRUMENTS--
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Vous avez sélectionné:
key:Am
Orchestre de chambre
Partitions à imprimer
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Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
Homage to Sibelius
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Stanley M Hoffman
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Homage to Sibelius
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stanleymhoffman.com
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #89...
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Chamber Orchestra - Level 4 - SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #897424. Published by stanleymhoffman.com (A0.1308171). I have long wanted to compose an homage to Jean Sibelius. However, his music is copyright protected in the EU for another five years or so. Thus, I struggled with how to compose a work without any direct musical quotations, and yet which in some way captures the essence of his symphonic music. I had a breakthrough in recent weeks, and the result is an eleven-minute orchestral composition which manages to invoke his music without directly quoting it. The opening passage on which the piece is based invokes the opening of Symphony No. 6 without quoting it; also, my homage is in the key of A Minor whereas the symphony is in the key of D minor. The piece also invokes the orchestral colors of one of my other favorite pieces of Sibelius, The Swan of Tuonela. My composition is scored very closely to that one, but I ended up using two oboes; I never needed an English Horn, and I added two flutes to that scoring. Thus, the instrumentation is as follows: 2fl-2ob-1cl/bcl-2bn-4hn-3tbn-timp-bd-str; the duration is ca. 11:30. My homage also invokes the more youthful compositions of the great master, and of course features his biggest personal influence, the sounds of nature. Sibelius was a master of musical forms. He managed to create entirely original forms such as the one for Symphony No. 7. While I do not pretend to be in his league in any way, I did manage to compose a work in a four-part form, which is unusual, and not the least of which for me. The piece contains all kinds of indirect references to the music of Sibelius through the use of motifs, melodies, harmonies, ornamentation, and orchestration.While not the most original piece of music I have ever composed (that would be The City In the Sea: Choral Tone Poem), my Homage to Sibelius is among the most subtle of my works in that it contains a good deal of variation technique, and a lot of attention to detail. Like my Homage to Vaughan Williams for string orchestra, the idea was not to break new stylistic ground, but rather to pay homage to the ground broken by the master. More so than anything, my Homage to Sibelius invokes how the symphonic music of Sibelius makes me feel when I am listening to it. I hope you enjoy it.---HOMAGE TO SIBELIUS for Chamber OrchestraMusic by  Stanley M. Hoffman (b. 1959 [BMI]) Inspired by the Music of Jean Sibelius (1865–1957)NotePerformer 4 Audio and Scrolling Score Video Seeking Live PerformancesMusic:© Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)comAll rights reserved.  The sheet music is available from the composer and from Sheet Music Plus.
$103.50
Rondo D major
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Rondo D major
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Möseler Verlag - Digital
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SheetMusicPlus
2 Oboen, 2 Hörner, Streicher flute and chamber orchestra - intermediate to advanced - SKU: S9.Q558258 To Rondo C major. Composed by Wolfgang A...
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2 Oboen, 2 Hörner, Streicher flute and chamber orchestra - intermediate to advanced - SKU: S9.Q558258 To Rondo C major. Composed by Wolfgang Amadeus Mozart. Hausmusik. Downloadable, Piano reduction with solo part. Op 244. Möseler Verlag - Digital #Q558258. Published by Möseler Verlag - Digital (S9.Q558258). Key: D major.Mozart schrieb das Rondo C-dur, KV 373 für Violine und Orchester 1781 für Antonio Brunetti, dem Konzertmeister der Salzburger Kapelle. Bereits im selben Jahr wurde das Werk von Brunetti aufgeführt; gedruckt wurde es aber erst 1800, neun Jahre nach Mozarts Tod. Ein Jahr später erschien eine nach D-dur transponierte Fassung für Querflöte und Orchester. Zur Zeit der Klassik war das Uminstrumentieren eigener oder fremder Werke nicht mehr so üblich wie im Barock. Aber es gibt noch genügend Beispiele; gerade Mozart liefert den besten Beweis (KV 413). Im Gegensatz zu der Ausgabe von 1801 ist die vorliegende Fassung enger am Originaltext orientiert, behält aber die Transposition nach D-dur bei; die Praxis hat gezeigt, dass die Querflöte in der D-dur-Fassung besser klingt.
$11.99
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